Film Production 101 - "Gumdrop", a short horror

My new film, "Gumdrop", a short horror, is finished! In the can! We began on this film back in the Spring of 2019. We shot through the summer and I started post-production early las Fall. As of March 5, 2020, after speaking with the film score composer, Andrea Fioravanti of the Italian band, Postvorta, we agreed... the film is ready to be locked and distributed. That begins with the film being submitted to film festivals. Which I have now started doing.

This past week I began researching film festivals to submit to. I had previously submitted my last film, "The Rapping" to film festivals. My first time doing that. It won the Weekly Online Film Festival, and was shown at New York's, Midnight Film Festival. Now pieces of it have ended up in this current film as a kind of background in what was a rather challenging audio flashback scene.

This past Saturday night was our monthly Slash Night horror film event at the Historic Roxy Theater in Bremerton, Washington. I was talking to the event founder Kelly Hughes (also founded the Gorst Underground Film Festival, September will be the third annual and now a three-day event). I've been helping Kelly on his films over the past few years and now on the GUFF and these Slash Night events.

We started the monthly Slash Night events to support the annual GUFF. But also to build a community of local filmmakers. To bring us all together. To educate ourselves together and to build a sense of cooperation and support. And it is working. The Darkow film crew is working with Kelly on a new short film project we are filming at the Roxy Theater. I'm helping with that, too.

Kelly saw my first assembly draft cut of "Gumdrop". I had inadvertently called it a first rough cut. He and our friend and cartoonist, Pat Moriarity, had come to my house in Bremerton to watch it. Both of them live just across the bay in Port Orchard.

They had some positive and negative things to say about the film at that point. I was a little surprised by their reaction. To be fair, Pat said he's not really a fan of horror movies, but he has taught storyboarding in college and as that professor's eye that is always positive and productive for students. But they both had some very valuable critiques.

I mention this viewing because that week after they saw my film, I researched some things and came to realize, I had not shown them my first draft cut of the film, but the first assembly cut. To vastly different things. And so they judged it upon that mistaken understanding. My fault, not theirs. I should have said they were watching the first assembly, or assembly cut,  not a first rough cut.

The first assembly, or assembly cut, is the editor's first cut of the entire movie. The editor strings together all of the usable footage and organizes it into a chronological sequence that corresponds with the film's script.

The assembly cut is also the first draft of the movie edit in which the director has the opportunity to see the movie for the first time. In filmmaking, the rough cut is the second of three stages of offline editing. The term originates from the early days of filmmaking when film stock was physically cut and reassembled, but is still used to describe projects that are recorded and edited digitally. - Wikipedia 

I also mention all this because, at this past weekend's Slash Night, Kelly said he saw just a bit of my submission to our GUFF on FilmFreeway.com and he was very impressed with how much it changed from that first viewing he got many months ago. Since he last saw it with Pat, I have done fifty-four drafts of the film and added the film score and songs.

On that... I was very lucky to acquire musician Andrea Fioravanti from the awesome Italian band, Postvorta. No, really. Check them out! I laid down his soundtrack, we talked, he sent me another, I laid that down, I began to edit in the late stages of the film with the soundtrack in place and altered things accordingly and the film only got better.

It's hard to know what it takes to produce a film without doing it. In doing all stages of the film build process you really get a close-up view through painful and tedious work. 

I am not bragging, but this is the process one goes through. Of course on a bigger production where you have even one crew member, there are people to do these various things, all of which the director and producer may be intimately involved in throughout the process. 

I wrote the screenplay last Spring of 2019. It is based upon one of my older short stories, "Gumdrop City" and is a prequel to that story and an origin story of that main character. That story is a true crime story that I fictionalized and published in "Anthology of Evil", a collection of my first short horror stories.

It contains my first published work of science fiction, a short horror story ("In Memory, Yet Crystal Clear") and, my first novelette ("Andrew"). Andrew was eventually grown, along with another single page short story ("Perception") into my massive epic horror sci-fi book, "Death of heaven". 

I also later published "Gumdrop City" as a standalone ebook. Not yet as an audiobook, though I have a few. I first heard about this story at university in an abnormal psychology class. It was so disturbing I decided to write a short story to share that story with the world. OK then. Marketing crap out of the way, back to our story...

After finishing the screenplay, I chose and gathered the actors among friends, and actors, who I had worked with on Kelly's film projects in the past, and handed out the roles. We began principal photography where I was cameraman, sound tech, lighting tech/grip, cinematographer, craft services (food/drink for the actors and non-existent crewmembers), essentially, the crew.

Now let me mention something here. I've seen low budget, indie films where at the end you see in the credits:

• Directed by: Alan Smithee
• Edited by: Alan Smithee
• Produced by: Alan Smithee
• Cinematographer: Alan Smithee
• Soundtrack by: Alan Smithee
• Lighting by: Alan Smithee
• Written by: Alan Smithee
• Screenplay by: Alan Smithee
• Childhood horrors by: Alan Smithee

Look. Do NOT do that! In my film "Gumdrop", at the end it simply says:

A

JZ Murdock

Film

Or something like that. But, nice, brief, clean. Simple! Like me. OK? Don't purge the needs of your ego at that point. We get it. You're the MASTER. Well? You're probably not. Even the greatest of filmmakers are always learning.

Oh, by the way. Who's Alan Smithee? Surely, inquiring minds want to know. Well, too bad, this isn't about HIM!

Oh, and... THAT'S one of the thing I love about filmmaking.  So humble is good. And as my brother, seven years my senior once told me when I was in junior high, self-deprecating humor is good. If a bully picks on you, cuts you down..."Cut your self down first... more. But be funny. It robs bullies of their power and may turn them to your benefit."

Good advice. No. As it turned out? Great advice! Really great advice. It saved me from so many ass beatings, I lost count. And, made me many new friends. So thanks for that, Jon!

Anyway, as I had been saying earlier before my ADD lost track, got unfocused tangent (a woman once called me, "Mr. Tangent! But, that's a good thing!" She said. Okayyy, uh, thanks?) ...luckily for all of us, I was not an actor. Though when one actor dropped out playing a voiceover role on the day of the recording, I jumped in to sit opposite professional actor, Jennifer True for the audio flashback scene of the Sampson's character's child role and step-mother, and I played the visitor, Koloman.

We began shooting the film on set throughout the Summer of 2019. After that was over I began the editing post-production process in Fall of that year and finished, less than a week ago as I write this. 

The editing process is a beast. You have to select the shots to use out of all the raw video shot. That is when you discover if you actually have all the shots you needed. Or if any of the shots or audio aren't up to par. You notice continuity errors and issues and try to fix them in post. You have to match up the digitally recorded audio to the video. 

I also use an external mic on my camera (a Canon 80D DSLR) as an audio backup and it's paid off big time. Nothing worse than finding somehow the DR wasn't turned on or that the mic picked up the dialog in a weird fashion, or some other issue of placement or technical manufacture (such as having the audio pick up turned up too high, clipping the loudness end of the audio spectrum). 

What gave me the most trouble was the audio. As I inferred above, you always run into problems and you do your best to fix them in post, or you reshoot or re-record in ADR. 

"ADR (Automated Dialog Replacement) in film is the process of re-recording audio in a more controlled and quieter setting, usually in a studio. It involves the re-recording of dialogue by the original actor after filming as a way to improve audio quality or reflect dialogue changes."

I had Tom Remick, the lead actor in the role of Sampson, come back and do a brief ADR for a scene of Sampson, in the beginning, looking at a plant. All he had to say was, "My poor little friend." I think there was one other short sentence but I don't remember just now what it was. I then had to match that up to him speaking the words on screen so it looks like he said that. Which means you have to match the cadence up in recording it, or perhaps speed it up or slow it down slightly in post. 

It's not for the faint of heart. Not for the tech doing the audio replacement, or for the actor. I have a lot more respect now for actors who come back to do ADR to themselves on screen. It's tedious, it's difficult and professionals earn their keep. As it is, what we did turn out well. But I'd prefer to avoid it in the future, though at times, it can be impossible to avoid. The more money involved in the production, the more important and necessary it can be. 

There are also issues of sound levels, compression, and separating out the audio of tracks for dialog, soundtrack, music, and sound effects. You have to hear the dialog over all other sounds, or not. It's a decision of the audience understanding the scene and story. When there is too much bass in the music, you have to lower it to understand the dialog, or add treble to the dialog. 

The video is similar. You have to control the color, the white light "temperature" (which hopefully you did on set using real or artificial lighting and camera controls. Matching up the video clips so there is a smooth transition. Shot and scene transitions have to be managed. Special audio and video effects have to be built, acquired and manipulated. Do you give sound to everything you see on screen, or not? Whatever supports the scene and story, of course. 

Do you use real sounds or fake? Foley sounds made up and applied. IF you use the sound of someone walking or being stabbed, it may not sound at all like the action. So you use shoes on a wood floor or stab a head of lettuce, or whatever makes the scene sound real. But you can't overdo it. 

Movie magic, I like to say. Make it seem real to the audience watching the film. And sometimes you go overboard, and it works! Sometimes it fails miserably. It's an artistic choice much of the time and requires a consideration of the format of the film, the story being told the orientation of the filmmaker and other elements. Which is why we take classes, read books, watch videos and best of all, learn from and work with filmmakers who are better and more educated than you are. The best you can access.

Once the film is "locked", the distribution begins. Actually, wise words are that it should begin, whenever possible, before you initially put pen to paper. But for many low budget, indie filmmakers, it's not so much an option and you're left with submitting to film festivals once the film is ready to go out. 

And that, is a whole other blog. 

I started taking a look at film festivals about a month ago, ramping up until the end of post-production. As of this time, I have submitted to about ten festivals around the world. Mostly good, solid local ones. So far one big on, the Austin Film Festival. Some international ones, I have two in Ireland (I'm half Irish born in Tacoma, Washington, and visited there for my birthday in 2015). I've been to Cork and Dublin, so I submitted to a film festival in each town. 

Andrea, our soundtrack composer lives in Italy. So I found a festival about two and a half hours from where he lives. He may not make it, the film may not get accepted, but at least I made the effort so that if he wished to, the film might get accepted and he could have the opportunity to show up and enjoy some of the attention I may get to receive. It's really only right to do it.

Festivals I've submitted to, after reviewing top ten lists of best festivals for in my case, indie horror films to submit to, and reviewing the festivals I came up with. Some of these gave me a waiver so no entry fee! I just asked. One even said to ask them if you are a local filmmaker. I got waivers in the Crypticon. Some of these I've entered before with "The Rapping". 

• TMFF - The Monthly Film Festival
• Gorst Underground Film Festival (my festival I judge with Kelly Hughes who founded it)
• Portland Unknown film festival
• Crypticon Seattle Horror Film Festival, which I've attended several years, twice getting a room, the best way!
• Horror Show Festival in Italy, near to Andrea so he could go if he wants
• Cork International Film Festival, as I've been to Cork and sounds like a great festival
• Oregon Independent Film Festival
• Austin Film Festival, my big one so far
• Bleedingham Film Festival is a fun festival that opens soon and I'll submit. I graduated from Western Washington University in that town, so a college town submission that not only has meaning for me, I might attend if I get accepted, or win.
• Washington West International Film Festival, supposed to be a top ten festival to submit to, and local
• The Midnight Film Festival, they selected my film, "The Rapping" last year in 2019

How many festivals should you submit to? Up to you, and how much money you have. Be sure to read the rules and about info to know what you're getting into. I entered one for "The Rapping" and was rightfully disqualified, as I had missed it was for student submissions only. Luckily, it was a free submission.

So for me, now, that's ten. I may enter the Port Townsend Film Festival up north of here. I love Port Townsend and it can draw big names. They also require DCP format, which is a bit of a pain, rather than the format my film is in now, MP4. My daughter was working up there several years ago and called me up to say, "Tom Cruz is walking down the street." So you never know who might see your film.

And that's about it. For now.

Much more later...

So, I know, I know, I should add in some inside jokes, some blooper reels, some brief and funny or weirdly bizarre asides, but...no. Maybe in the DVD extras?

Speaking of which. The film is now done. I got some DVD blanks and I've had some DVD covers for a few years which I had almost gotten rid of but now I'll use for this. I have to make up a graphic for the DVD covers. Hey, I'm getting there! Soon. This week even. I'm still not to 100% of my energy after a month of healing from that damn flu. No, not THAT damn flu. Just, the flu. But, it sucked.

Now I've shared Gumdrop with some close to me on Google Drive. My kids. My editor of "Death of heaven". Her husband is my friend, so they both get access to it and later I'll get them a DVD. In fact, I'm still thinking up who to offer it to.

Let's see. So far I've given offered it to Ilene and Kurt Giambastiani (this is in no particular order by the way). Did I say Ilene was once my editor until she had to go and start a new career as a small businessperson? By the way, I love Kurt's "Fallen Cloud" series of revisionist history. I know, sounds stupid but it's so amazing, well written and historically accurate... until he subverts it for fun and profit.

I said, my two kids. Who else?

Oh, Erwin. No, wait. Andrea in Italy (see above). Since he did, after all, do the soundtrack music. I mean, come on. Not to mention what Italy is going through now with this COVID-19 virus crap.

Oh, Erwin. Great photographer. I met him online in the 90s over a Clive Barker play he was producing. He sent me the music and years later, I sent that to Clive's archivists, Phil and Sarah. I met Clive a few times in person, and that's a story unto itself. But as far as meeting a celebrity doing me any good...not so much.

But then Erwin Verweij and I reconnected on Facebook years ago. And, he's awesome. But, he lives in Rotterdam, Netherlands and I live in Bremerton near Seattle, Washington. That being said, we both know we need to meet one of these days and have a very good whiskey and talk. He has my young self's dream job as a photographer. Long story. It has a bit to do with my older brother who was once a bit of a photographer.

Anyway, I'm now working on the DVDs for friends and whoever should get one of Gumdrop. I'm going to look into that this week and I'd like to include some DVD extras. There is definitely some entertaining stuff from our film shoots. Festivals get my film from what I uploaded on the Film Festival site.

And, end scene. It's been a long weekend. I've covered so much above, I hope something was informative or entertaining to you, or someone.

Enjoy your week/year. Stay safe, avoid the hype and nonsense and go out and be brilliant and be productive! Sláinte! Cheers!

Oh, that was something I'd meant to mention. Gumdrop ends with a word no one knows. It's actually a word that ends old Czech films. Like "Fin" in the |French cinema, I ended both "The Rapping", and, "Gumdrop", a short horror, with Sláinte.

Why?

I grew up watching in the 1960s in America on our local PBS channel. Because, the lead character in Gumdrop, that being, Sampson, is half Czech and half Irish.

Just like me.

So?

Sláinte

Editing and History of "Gumdrop, a short horror"

First, some housekeeping and promotions...Last year I shot my first short-short eight-minute narrative film, The Rapping. It was a festival selection at the New York Midnight Film Festival, actually, showing in New York and won the Weekly Online Once A Week Film Festival for January 2, 2019. I shot this with a single actor, Nikolas Hayes. We had worked together previously on Kelly Hughes' horror films.

I have worked on several projects with Kelly and lately, we've been working on the ongoing annual GUFF, the Gorst Underground Film Festival. We began it and held it for two years at Blue Collar Art but are moving it to The Historic Charleston Theater in Bremerton. Both venues are perfect for it.

Our most recent event series is "Slash Night" at the Historic Roxy Theater here in Bremerton which I recently wrote about here. Gorst is a small community right next to Bremerton, Washington. Kelly started both events and both are now becoming standard annual and monthly events, respectively.

This past summer I shot my short horror film, "Gumdrop, a short horror" with multiple actors. I wrote the screenplay and directed and shot it myself. It is a prequel to my short horror story based on a true crime, "Gumdrop City" (2012) on Amazon as an ebook and included in the collection of my first short horror tales in "Anthology of Evil" (2012). I have a manuscript ready for a sequel as, "Anthology of Evil II", but haven't had the time to deal with it.

On Gumdrop, a short horror and Gumdrop City, the new piece is a prequel. The story is about Sampson, an odd character who in the short story is older and more decrepit but just as dastardly and deadly, but even more despicable a personality. In the current film, In using the short story as a roadmap, I drew a character who had been abused as a child and had grown up traveling to escape his birth country of Czechoslovakia and his horror of a childhood.

In those restrictions of his accent and so on, I gave him a background of having traveled to South Africa and to various locations that affected his accent. His father was Irish, his mother Czech. So he has an accent that is an odd juxtaposition of a Slovak accent with a South African slant to it and words of an Irish orientation. He knew his father but didn't know him long enough for it to affect his accent that much, but enough and in odd ways. This makes him confusing for those he interfaces with. His mental status and his orientation led him into criminal enterprises and to avoid traditional forms of employment and sustenance.

Actor Stan W with lead actor Tom Remick as "Sampson"

Sampson is one odd character and not to be trifled with. As the character, Manz (played by actor Stan Wankowsky) discovers int he film.

Okay now...editing.

First, apologies. I'm more concerned with working on this project than blogging. And I'm adding to this as I'm editing, and think of things to mention.

Like treats. I get up in the mornings around 6-7AM and have breakfast, sometimes just toast and peanut butter, or oatmeal, and two cups of coffee. Years ago I limited myself to two cups a day, maybe tea mid-morning if needed. I watch something on TV, usually news of some sort, or a late-night talk show. Then I get to work. If things go on too long, watching a show, and it's really interesting, I'll stop, and save it to watch at lunch as a kind of reward. Understand I'm retired from IT and work on film production and writing from a home office which at this point happens to be half my living room.

I've found tricking and treating myself works wonders for my motivation and stress levels. Have something to look forward to. And use any way you can think of to make yourself do what you woin't or don't want to do. Whatever works. Just find a way to be productive, and try not to (have to) kills yourself over it. IF there is any way possible to make it entertaining/ Do that. But save the wasteful time spending for after you have worked for a day's amount of work, or more.

I have no formal training in film production. Just theory and doing. Self-taught you might say. I've read a lot of books on film production but should have spent more time ready about editing. Well, I've spent some time learning about it, but this project is in part that education. My next project will look a lot better edited, I'm sure. I'll also be reviewing some videos on editing now. I'd meant to do that already before starting this but the flu had messed up my timing. And other things...

 Sony Movie Studio Suite 16 - Gumdrop
Shown, actors: Luke Remick (Jinks), Tom Remick (Sampson)

I am using Sony Movie Studio Suite 16. For that matter, I write screenplays using Final Draft 11. One of these days when I can afford it I may switch to Final Cut. My first edit of a film was at Western Washington University. I used a half-inch black and white reel to reel rig and had to edit in the camera. At some point, I was soldering wires to add music. And it was a nightmare. But I produced a phenomenology film for my department advisor, Dr. Rod Rees in part toward my degree in psychology. I also got a minor in creative writing and team script and screenwriting.

My next production came years later as a Viacom public access cable TV producer where I shot and directed and edited with a few friends a documentary for the twenty-fifth anniversary of the old Lost in Space TV show. I shot on VHS using my own camera as I'd had a bad experience in college where the battery in every camera rig was dead or almost dead in my case, which was the problem.

I didn't know it was "dead" as it worked some and so I shot a bunch of film to near-disastrous results. Still, some of those shots made it into the film. I used a Panasonic VHS editor deck at the studio and it did cablecast twice in the associated region.

For both The Rapping and now with Gumdrop, I'm using my own equipment and software entirely under the auspices of the production company started in 1993 for the LIS doc, LgN Productions (Last good Nerve Productions). I'm using a Canon DSLR 80D, a Roland R-26 digital recording, an HP video editor system from 2016 and the aforementioned software.

Shooting the film I am using the 80D and a Rode mic on top of the camera as a backup, with the Roland R-26 and a boom mic and tripod for main audio. I highly recommend a backup mic, it can be a lifesaver. But that means you have to marry the proper audio with the proper video and that can be a real job. Especially if you are not documenting your shots as you go. Which, I haven't, sadly. But which I hope to in the future.

Beginning the editing I pull out the screenplay and follow that roadmap. I start to insert the video media and begin to edit. Once I have a sequence of shots or a scene edited, I start to locate and insert the digital audio media. Then I begin matching it up. Part of my problem in not matching up the video and audio first and then ordering up and cutting is I could end up doing a lot of work for naught.

IF I had annotations taken during the shooting, this would go much smoother. But in having actors, especially amateur or nonactors in a production, considering timing as they are working people, not working actors paid to have their time on a schedule to act in my production, it makes life and shooting problematic.

I don't have the time to take the time myself to document and clapper my shots. I have to shoot quickly as on any production, without the safety net of documentation and in shot annotations (clapper and onboard notes).

Another issue was the processing of the audio clips. I really didn't know if I could edit this film, then go back and select only the audio I need, process it (I'm using Reaper for that) and then replace the clips I've used. That is, replace the base media in the editor and have it replace all those snippets all throughout the project. Finally, I took the time yesterday to first do a test and it worked out great.

Another issue I had was I built the opening titles sequence first. In this project the opening titles are the end credits to an extent, only reversed. So in building the opening, I figured as it was fresh in my mind, I might as well build the end. And so I did.

However, that put the end at the actual end of the screen, the project, the file. While editing the other day, and this can happen, I deleted a file and didn't realize I had deleted the end sequence. I realized what I did and could feel a nervous breakdown coming on. So I just sat there absorbing it, thinking if there were ways out of that. Putting off the breakdown until necessary. As it turned out, I found it and from then on every day I save a new version of my work that day and begin a newly named file for the next day. I also saved the end titles in a separate file. THAT won't be happening again. I had also created a couple more unneeded tracks and put it alone at the top out of the way. Which was where it was. Not lost. So my habits aren't too bad after all.

Aside: This happened once after college when I had a dul 5.25" floppy disk PC. One disk had the OS on it, the other was data. I had just written a short story. Sometimes I get in the zone and a story just dumped out onto paper. And it's usually pretty good. I did that once while working on a paper on synesthesia in college. I was exhausted, it was midnight and a short story, one page, single typed, come out. I dumped it onto paper (typed it out) and handed it in to my psych prof, my department advisor in class that next day. The following day we all got a handout. I loved his handouts. I was stunned to realize it was my short story (Perception, which grew along with my short story, later novella, Andrew, into my first full book, Death of heaven). Anyway, I was writing this short story on the dual floppy system and suddenly (and it had done this before), it locked up. Because the data disk got full. At that point, there is nothing to do but reboot. But I hesitated an hour before buying into that need. Finally, I rebooted and immediately rewrote the story. Now when I was almost done with the story I was thinking at the time that it was the most perfect short story I'd ever written. Obviously, I didn't rewrite it word for word but close, but it was not the same as I had written. That was lost.

My point? When you think all is lost, don't accept the breakdown. Breathe. Then think. And do what is productive. And move on.

So I have what I have.

This has been so much easier than editing physically with film or VHS as I had in the past. I was the film editor in my family when I was a kid. I had my grandfather's physical film editor (I still have it) and I did cut and tape film. VHS editing was easier. Digital editing is a dream. As in writing is in using a computer over longhand, or that's how I find it anyway. So much faster to cut and paste than as I did in college, literally cutting and pasting and then typing it all up (back then after being in a queue at the library to use a typewriter).

Yes, I did edit The Rapping last year. But that was a shorter film, a much less complicated film. A film I shot and edited just to prove I could do it. And since it got shown in New York and won one festival, even a micro-festival online, I did prove I could do it.

After a week of editing, the nightmare effort began to get easier as I got into the swing of things. Yesterda I was about six minutes into the diting (six-minute of edited video under my belt) and I hit potentially the toughest scene in the film.

It is the scene with hitwoman Wanda (actress Amy M) and Sampson (Tom Remick). The difficulty came in an interaction that required a lot of insert shots and bouncing back and forth from mid shots to close-ups and some ECUs (extreme close-ups) of a tool. That scene, that sequence of shots took me a couple of days. When I started again yesterday, I felt pretty hopeless, like I'll never work it out.

I thought I was done with that scene but today found I had a mirror sequence (gotta have a cool/bizarre mirror sequence in a film like this). I just finished it and I'm now done with that scene and moving on to the Rowan scene with Tacoma actor Jason Lockhart.

But I'm dumping my media I'd inserted into the project at the end where I clean it up and inject it into the timeline with the other assembled pieces of shots. It's important to remember to clean up. I overuse files/copies in my pre-editing end area of the file to avoid having to reapply a clip. Though I end up with a lot of extra pieces  (also in clipping, and expanding), and just need clean up between sequences, which isn't much of a problem.

I'm also thinking now it might be easier and faster to just video edit and then focus on the audio. As you get used to one thing, video or audio, you get in the swing of it. But when I'm jumping between, I seem to cause myself too much confusion. A few days of this will prove the point one way or another.

But, you take a deep breath and begin again, or continue on as it were. by midday, I was feeling much better. Do not accept the breakdown. Or, accept it, but don't have it. Be productive. Always moving forward.

Professionals produce. Be a professional.

As it is this project needs to be done by the second of November so it can premier at the Slash Night event here in Bremerton, at the Historic Roxy Theater. If I'm not ready, then I can show it in December, and then I'll have more flyers sharing its premiere. And so I may show it twice in a row. We shall see.

At the end of each day's edit, I am rendering a movie of what I have done. Essentially finished rushes. Sort of "finished". As this is all going to take a rough cut, and then a run-through for other issues and another rough cut, over and over as any editor knows.

I have also created a Facebook group, a private group just for the crew and actors on Gumdrop under the LGN banner. There I/we can share issues about the production.. Actors can speak up and hopefully, everyone can learn something, or at least, be made away of progress. I found as an actor you know so little about progression on a production and it can be frustrating.

In making this private group I was hoping to have the actors be more involved, aware of progress (and delays) and hopefully as I said, learn something.

Yesterday I found a few useful links about film production/editing I'd like to share and I shared in our private group.

IFH 113: Post Production Process – Understand It or Suffer the Consequences

Understanding the 5 Stages of Indie Film Production

The 6 Stages Of Editing As A Film Director

I'm into filmmaking, I retired from a very well paying job and a career in IT of 20 years, to make films. To write. To turn my past writings into screenplays and sell or shoot them myself. I couldn't get a film made if I were dying. Like so many others. So I finally just thought, "To hell with it, I'll make my own damn films!"

And so I am.

I made The Rapping up and shot it. I am now finally, for the first time shooting a film based on my own past writings. I first heard about the story behind Gumdrop City in 1983 in an abnormal psychology class. A story so affecting of the entire class, I felt I needed to share it with the world. So I made it entertaining and slipped it into a story about a damaged guy and a serial murderer across the street from him.

I worked for a while with a Hollywood producer on a feature film-length version screenplay of Gumdrop City (I just finished working on a screenplay rewrite of my true crime biopic The Teenage Bodyguard with producer Robert Mitas who has worked with Michael Douglas a lot). I thought that story would be the easiest thing to shoot on my own as my first film of a story I wrote years ago. But to shoot the original itself would be problematic in many ways. So I wrote a prequel and added in some interesting characters and elements. Still, it is a difficult story. But doable. And that's all I needed.

What are those interesting characters and elements? In time you will see.
Hopefully, in very little time.

Seven Books Worth Reading Plus One...Plus

I don't usually go in for these posting on demand things on Facebook, however...mostly seems a pain for people to do that too you. Once in a while, one comes about that I feel I can get behind, however. This was one of those. The idea is, choose a book you love, share it and say nothing. Share only seven books, one on each succeeding day.

It was a little frustrating, however. So I thought I'd alleviate some of that through a blog about these books and my reasoning in choosing them. Yes, perhaps this goes against the idea of the effort on Facebook, but I just wanted to explain where I couldn't on Facebook, to give a little background in the hope it might be interesting.

There were obvious books I skipped because so many know of them. A few seeped in below. Like, Dune, perhaps because it was so deeply affecting to me (see below). Others were also deeply affecting but did not get mentioned. Like The Hobbit, or Lord of the Rings, because so very many others also felt those books so deeply. I just felt it went without saying and the time and space could be better used with other books, less familiar to the public.

Here is what I chose and finally...why:

Day 1
Friend and actress; Jennifer True asked friend and filmmaker\director Kelly Hughes and he asked me to post covers of seven books that I love with no explanation, no reviews, etc. With each day, I'm also supposed to nominate more people.

I choose artist Marvin Hayes. Aristotle's Works

When I was in fifth grade I was only allowed at our new house we'd just moved into, to go to the library on my bicycle. I was a bother as a child, not unlike my own son. Curious, investigative, always into...something. It was a wise decision. And I did go, only to the library when I asked. I discovered very interesting things. I'd always been fascinated by the written word. Sick of waiting for someone to read me the Sunday comics in the newspaper, until after everyone else finished reading the paper on Sunday mornings, I strove to learn to read young and never stopped.

On my first time at my new library, I discovered the "Adult" section. Not what you might think but definitely more interesting than the kid's section. It was directly before the door into the library, past the "old" ladies at the front desk, clearly in the open. I sat on the floor and started going through books, occasionally sneaking a glance at the front desk, amazed they let me unbidden at the adult section.

On that first time, I found a very old book by some guy named Aristotle. Single name. Starts with an "A". Had to be something, right? I started reading there on the floor. Something touched me. So I checked the book out. And they LET me! It was a fascinating dive into logic and ethics by the Master.

I knew I was onto something one day when I mentioned something relevant in the living room to my parents, a quote from Aristotle. By then, having looked up who he was in our family encyclopedia, which I also loved to peruse, I knew he was someone important, all throughout history.

My stepfather, who didn't much like me anyway, snapped at me that what I had said was stupid. I heard that a lot from him. I responded I wasn't sure that was right. He asked what would make me say that. Very carefully, a little scared, I said that he was a well thought of thinker all throughout history and many held him in the highest esteem.

He asked me, like who? I was surprised 1) he never heard of Aristotle as I kept running across him; 2) he didn't know people referenced Aristotle a lot and; 3) my response to him that, just about every educated and well-known person in history through highly of Aristotle. And that, shut him up. Thankfully.

From that exposure to Aristotle at such a young age, his way of thinking deeply affected me. All throughout my life.

Day 2
I choose, Nikolas Hayes. Slaughter-House Five,

Day 3
I choose, friend and fellow author Kurt Giambastiani. The Year the Cloud Fell

Day 4
 I choose, friend and photographer Erwin Verweij Something Wicked This Way Comes

Day 5
I choose, author Mark Baranowski. The Star Thrower

Day 6
I choose, author Mark David Gerson. Dune

Day 7
 I choose, author Stephen King. The Books of Blood

Epilogue
I'm going to add one more book. Not just as pure self-promotion but as an honest comment about a book I wrote myself. I wrote it as I do all my stories to write something I've not seen before. At least in some way. I wrote my book, Death of heaven to show something I've not seen before.

I do not like to have to explain its format but for some, it may not have the depth it actually has. I wrote it to exemplify that "Heaven" (that is, heaven) never existed except in our minds, our mythologies, our religions. But even lies can and do have a base in fact. And that is the effort put forth in this horror / sci fi book.

We had a reason, as constructed in the book, to think there are Gods, to think there is an afterlife (maybe there is, but is there in the "Matrix" or is it another thing altogether?). And no, I do not use the Matrix as a foundation but something entirely different.

The Universe is not just as big as it is for us in the ways we conceive of. But in many ways, in many layers, in many dimensions. I tried to write a book that expands on that, expands our thinking, and offers some disturbing concepts and images to stretch concepts even further.

I based this book on Andrew, a novella about a five year traumatized boy who grows up into great things beyond that of any other human being throughout history. Andrew is a standalone ebook and the final story in my first book, a collection of my older and original short horror and sci fi fiction titled, Anthology of Evil. By the way, I have a sequel to this Anthology of Evil II but I have been busy and have not yet found a new publisher for it.

Death of heaven (see link for more) in my mind is the better book. But one leads into the other.

IF you want a book like you've not read before, give it a try. So far people seem to like it. It just hasn't had the marketing and attention it needs. See, m focus has been on film production. I've been focusing for years on screenplays and one of my favorites, the true crime biopic, The Teenage Bodyguard is now in talks with an active producer and we're building a plan for its production.

This past weekend Kelly Hughes hanging with the awesome Alison Arngrim - Meeting actors Warren and Elif at Zombie Joe's Underground Theatre in North Hollywood with Alison and Robert. — with Alison Arngrim and Robert Schoonover.

This week's blog isn't about film production but it's been my primary focus of late. So for an update...along with Kelly Hughes over at his Lucky Charm Studio, friend and fellow filmmaker and founder of the Gorst Underground Film Festival in its second annual event this fall where I have been and I am again judging films.

I hope to get one of my own in there this year or next. Kelly just produced his documentary Hush, Hush Nellie Oleson currently making the round of film festivals. And a music video collaboration with the Italian band Postvorta with the same, We're Nothing. I'm also in his book, Are You A Good Witch, with a shot of Alison Arngrim ("Nellie" from Little House on the Prarie), who "murdered" me in one of Kelly's films.

I'm currently in pre-production on shooting my own short horror film, Gumdrop based on a previous short story of mine, Gumdrop City. A true crime story. After I'm done with the Bodyguard project I'll move over to a horror comedy I wrote that did well in screenplay contests, Gray and Lover The Hearth Tales Incident. It is one that could easily lend itself to a franchise.

Getting back to the seven books, they are all great books. I don't put mine up there in the same category. But I've certainly given it a worthy effort.

I'll just leave you here with these reviews by reviewers. Make up your own mind:

From author and reviewer Michael Brookes:
"The book starts well and has a Books of Blood vibe, which really works well. It's in these tales that the author's writing ability shines. He demonstrates a lovely turn of phrase and some of the writing is almost poetic in its beauty."

From British Book Reviewer Lynn Worton:
"JZ Murdock has written a horror story that had me completely transfixed! I'm intrigued as to what he is working on next! Although horror is not one my favorite genres, I recommend this book to those who do love it."

From WILDSound Writing Festival First Chapter review said:
"The story itself is very strong, lulling the reader into a false sense of security as two young boys hunt for treasure, before ultimately morphing into a violent and sometimes disturbing tale of horror. This is done with such swiftness that it takes the reader completely by surprise, which only enhances the effect."

Check out Death of heaven!

Sláinte! Cheers!

Judging the Gorst Underground Film Festival - The GUFF

First off, I would like to address that today is Memorial Day 2019. In these trying times when wrong is sold as seemingly right and confusion is the rule of the day, we need to reflect on who we are and who we want to be. Part of that we celebrate today, in how we remember the fallen, those who protected us and died in our service.

"On May 5, 1868, General John A. Logan, leader of an organization for Northern Civil War veterans, called for a nationwide day of remembrance later that month. “The 30th of May, 1868, is designated for the purpose of strewing with flowers, or otherwise decorating the graves of comrades who died in defense of their country during the late rebellion, and whose bodies now lie in almost every city, village and hamlet churchyard in the land,” he proclaimed." History.com

But part of that is also in how we treat the living who return, broken and hopeful, and what our orientation is and should be in going into the future.

“Patriotism is when love of your own people comes first; nationalism, when hate for people other than your own comes first.” – Charles de Gaulle

Now, on to the Film Festival:

I was a judge in a local indie "underground" film festival. The first annual 2018 Gorst Underground Film Festival (GUFF). We're gearing up now for the 2nd annual 2019 version in a few months on September 7, 2019. I was only one of a few judges so regarding my voting. Some I rated highly were also rated highly by other judges and the winner I chose actually won overall. While a few I had liked and rated highly didn't get rated quite as highly by some other judges. Just how it goes.

Our judging wasn't made public or shared with the filmmakers. It can be problematic. To be sure. But I thought I would share some of my notes on some of the films I watched.

Like it or not, here it is. I will admit as the films flew past, I realized I'd started my ratings rather high as the quality of the submitted films was higher than I had expected. I was pleased to discover that. Judging is a learned behavior. With time and experience.

I'm sure I'll get better at it. As a long time screenwriter and a newly minted narrative filmmaker (I'm working now on my second film), I do have some insight from years of growing up loving cinema in the classical sense, and through my college cinema classes as well as through perfecting my own screenwriting and filmmaking skills.

About that. You do the best you can as a judge, using your experience and orientation in life and trying to be enlightened, not of a limited scope. You try to be neutral, academic a fan, a viewer.

I believe in being an advocate for the festival filmmakers. One judge may see things differently, may have more or less understanding about a film they watch. Or may be more or less educated about life, the world or cinema. But that is part of the package you have to accept in entering any film festival.

It's also why there is not usually just one judge and uses an overall average to decide a generally well-accepted film as the winner. Ratings are 1-10.

First up?

Beloved Beast - Director: Jonathan Holbrook

There is a lot to digest in Beloved Beast by filmmaker Jonathan Holbrook who mostly pulled it off. For a film pushing three hours in length one really needs to bring it. I think this could have worked very well instead as a three-episode miniseries in Twin Peaks fashion. Though perhaps it wouldn't have worked so well simply as a 90-minute film, though perhaps one with a sequel. Then, however, I'd have considered making it a trilogy and writing, or picking up some cutting room floor footage and putting it back into the project.

The film seemed to me to be unmistakably from the Lynchian universe of bizarre scenes and characters as well as uncomfortable moments being extended longer than is well, comfortable. Some scenes, though well-executed could have been shorter; though this could be argued as the director's divergence from Lynch.

While Lynch is succinct, Holbrook leans into the indulgent. Other reviews have noted Tarantino in the beginning, but I noticed a shift, so this seemed to me to be far more inside Lynch than Quentin.

What Lynch does is nearly impossible to reproduce. He's a master at it. To attempt it is audacious. Still, to approach it is commendable. Die-hard Lynch fans will certainly appreciate moments in this film as remarkable, though perhaps, too far between. The usual suspect with a long film. After all, the less one speaks the more genius may (seem to) appear.

On the other hand, if you don't like Lynch (or for that matter, Tarkovsky), perhaps watch another film. At times the film misses the mark in going beyond or even not quite far enough. If Lynch's works were an unwavering strand of titanium, Beloved Beast is the vibrating thread striving to be nearby it.

While one is unwavering and solid the other vibrates at times either too far or too near to its goal. Though how often and for how long is for the viewer to decide. I found the intermittent narration about the "Rabbit King" unnecessary, pulling the viewer out of the scene. At times even diluting the scene's crafted effect.

Other times it nailed it. Though the dialog at times can be too spot on. That too is very Lynchian. Still, the subtext here could be better executed in support of the underlying structure. As well, motifs and subplots could be better tied in, especially for a work of this length. As could the pathways or "roads" between characters. Something Lynch is adept at if not auteur.

All that being said, I found myself intrigued by the film at times. There are moments where the Grand Guignol, perhaps needing its moment, stepped outside itself into a wry piece of humor. More than once I had had to cringe or laugh out loud at something obviously planned that way. Overall it was a fairly well-executed film that needed restraint in the editing bay.

"A story can be both concrete and abstract, or a concrete story can hold abstractions. And Abstractions are things that really can't be said so well with words." - David Lynch

Man In Camo - Director: Ethan Minsker

A well produced and interesting documentary on a creative, rather fascinating art community builder. One of my most favorite docs that I've seen of late. Ethan Minsker is a force to meet if you ever get the chance. He actually flew in from New York, this native of Washington DC. Check out his other films and books, too. His documentary was creative as expected. I didn't think it was too long as someone said in the Q&A afterward.

It was in a way a tour de force of documentary filmmaking and I highly recommend it. His documentary actually won the festival.

Missed Connections Anthology -  Directors: Pamela Falkenberg, Jack Cochran 

A familiar topic shown in an interesting and entertaining light.

1/2 - Director: Raffaele Salvaggiola

Some beautiful shots in this film with some very decent cinematography and an interesting, well acted and properly directed story. A film no doubt by a lover of cinema for lovers of cinema with inherent references to some classic films and auteur directors.

Path of Egress - Director:  Vincent F. Baran

An audacious effort, if the filmmakers brought up some of its problematic issues to the level of other better-produced parts, they might have a winner. Audio / ADR levels/soundtrack, some editing issues, and a few other things needed better execution. Not to say there was a problem with the music soundtrack which was pretty good.

In the end, they followed my own belief in no matter what, give it a good ending and it pulls people up to a better consideration overall of your project. While a not so good ending can make a better film seem worse than it is. In the end, an entertaining crime flick with some decent humor, intense scenes, and some interesting elements.

Refuse

Hard to know what to say on this one. Kudos for finishing! Keep making films? I'm not sure where this filmmaker is headed, but somewhere I think. As for this piece..."Refuse" as a noun refers to food waste, scraps, or garbage. As a verb, refuse means to reject. As a double entendre, we have a film which exhibits and supports both of these definitions.

In the protagonist's refusal to help, he does so anyway but is denied, or refused. In asking for help in order to help, he is refused any attention. In standing at the bridge he seems to refuse to be affected by the beautiful scenery.

In breaking the fourth wall, he refuses to play the part of actor for that of the interactor. This didn't quite work for me, or others I spoke with about it. But if this is what the filmmaker was proposing then he may be evolving into something after producing more of these and gaining skills in doing so.

And so in the end, we as audience would also gain. A curious piece to be sure.

Search Engines - Director: Russell Brown

The film, Search Engines, isn't my usual cup of tea. But I laughed out loud several times watching this. Likable characters, well acted, this was just a sweet little message movie that walks the fine line of bashing one over the head with a message, and it's up to the viewer to decide if they maintained their balance or fell off. For me? Well, I kind of liked it.

Single Palm Tree - Director: Puthiyavan Rasiah

Rating, seven on execution, ten on message. I've seen other such films over the years from those disenfranchised as in Ireland, Syria, Lebanon and places in Africa and elsewhere. A noble endeavor. The world is finally hearing the truth about abuse by governments worldwide toward subsets of their citizens, typically minorities disliked for ridiculous reasons such as religion, caste, or simply socioeconomic status. And the world finally but slowly reacting.

This has to stop, to be sure. Sadly, the world has also gone more autocratic, xenophobic and nationalistic. You could tell Single Palm Tree was a labor of love, social responsibility, or both. It is a film whose message far outweighs its capability in execution.

As there are three codirectors it would appear the directing is qualitatively inconsistent for obvious reasons. Subtitles are at times more problematic than usual for subtitles for basic issues of mechanics (that is, unneeded spaces in words). Which in my experience are nearly always lacking in transliteration, to begin with.

 Some of the actors seem not to be actors and I'd even go so far as to say the casting is for some almost up to community theater standards while others are quite good. Overall some of the production is well executed but most are simply inconsistent. Cinematography sadly fails at times, while at other times, is quite beautiful

The Witches of Dumpling Farm - Director: Martin J Pickering

A nice effort, interesting if a bit uneven film but with some truly scary moments making it worth the effort. Just when you think it's done surprising you, it hits you again. Don't worry about the logic of it all in the first half, just let it happen.

Once the action gets going, they gain their stride. If the Pickering brothers keep on this direction they will be a force to reckon with. You almost wonder a few times...are these guys Sam Raimi's cousins across the pond?

So! Those are just a few of the 43 submissions we had received. The festival itself was a great time and I highly recommend showing up for this year's festival. It is in a rustic location just outside Port Orchard and Bremerton, WA, in Gorst.

For this 2019 season, we already have 48 submissions! I'm currently working on my own film, Gumdrop Sampson, based as a prequel to my short true-crime horror story, Gumdrop City. Obviously, I won't be allowed to judge my own film.

Kelly Hughes, local horror indie director and all around friendly raconteur may also have something in this festival which he started and runs. His new music video with Italian band Postvorta's song, "We're Nothing" is something to experience and has been making the rounds at festivals this year. Kelly also has a new documentary "Hush, Hush, Nellie Oleson!"

From a write up on Kelly's documentary: "After shooting a low-budget horror film, director Kelly Hughes gets a chance to work with his childhood idol Alison Arngrim, the actress who played the scheming Nellie Oleson on TV's Little House on the Prairie. But fitting Arngrim into the finished product becomes an exercise in futility as Hughes shoots increasingly absurd (and gory) scenes with Arngrim that don't have much to do with the original plot. Featuring extensive interviews with the cast and vivid film clips, Hush...Hush, Nellie Oleson! is a love letter to low-budget filmmakers and the former child stars who enable them."

There you have it. Judging is not the easiest thing in the world to do. You have to sit and evaluate, judge and select a lot of films and some are way too long, while others are way too short. It's a rewarding experience to do especially if you are submitting your own works.

Some judges admittedly don't have a clue what they are doing while others are far too critical. It is that just right spot you have to attain and maintain through the course of a season's judging one has to try to find. Which is why you never submit to only one festival and why you select your festivals with care, choosing those most reasonable for your project and what you're trying to achieve.

That being said if you are a filmmaker and you have finished a project, submit! And congratulations because it is a labor of love and effort unlike anything I've experienced elsewhere in my life.

One more thing to filmmakers, believe in yourself and believe in your project. Here is a video that exemplifies what I'm talking about from Filmmaking Stuff.

Now. Got out and be brilliant. Show us! We WANT you to succeed!

No Budget PreProduction on Indie Horror Short - Gumdrop Sampson

Hi. Ever made a movie? Not a home movie, but one you want others to see, others you don't know and will never meet? Putting yourself out there for comment. Making a statement. Sharing what you are thinking and showing how you think? Want to make a movie? Then stop listening to others who say you can't and just DO IT!

If you want to or are going to do it, this might be interesting. If you've done it, then this might just be sad, or hilarious. I know something about movies. Studied it some in college. I'm no practiced expert, but I've figured out a few things and I'm learning as I go. That's part of the fun of it.

I was with friend and local indie director Kelly Hughes when were at the Port Orchard Film Festival yesterday, to support the festival and see his music video collaboration "We're Nothing", entered in the Experimental Block of films, as I write this. From his website:

NEW COLLABORATION! To promote my docu-series Acting Up, I made a music video set to Postvorto's song We're Nothing. Postvorto is a post-metal band from Italy, and they have an intense sound that inspires me. The music video includes new footage I shot in Gorst and Sunnyslope, WA. One of the band's guitarists, Andrea Fioravanti, is also composing new music for me. I've heard several of his tracks already, and they are pretty amazing.

Kelly asked who he should introduce when we got (today) to Crypticon in SeaTac. We're spending the night, hitting panels on film production and Kelly's music video is also playing there. I'm obviously an author, blogger, aspiring screenwriter and now functionally, a filmmaker. I suggested that.

Kelly smiled and said, "Well, wannabe filmmaker."  I thought about that for a moment, a bit bummed out. But maybe he's right. Though, I would alter that slightly and say, "aspiring filmmaker". I have perhaps a few more projects to go, and maybe a feature-length film to go, in order to consider myself a full-fledged filmmaker.

To be sure I have earned the title filmmaker in having produced and documentary and a short. That's only fair to me. But, to be fair to more established filmmakers, I really should wait on that until I have a few more projects under my belt. Let's not jump the gun. Yes, you CAN call yourself a "filmmaker" after one project regardless the length. Or quality? Just Do it! But, strive to be more and really and proudly call yourself a filmmaker, once you have truly and fully earned. it.

I may add to this in the future as things progress if I find anything I left out. But following is the history and mindset I've had in building this project to production and preparing to shoot on set.

But that's not why you make films. As in being a writer, you produce because you have a need to produce. Because you enjoy it. You have a story to get out. Or you have a need to tell stories. Filmmaking, however, is not for the faint of heart. And then you put it out for others to see and you have to steel yourself for someone sooner or later shredding your work and your ego.

So do your best.

I started this by considering my next project, obviously. In 1993 I produced a documentary for public access cable TV at Viacom in Seattle. A studio up on Roosevelt Way Northeast. It was a comedy of errors like you wouldn't believe. I had moved out of Seattle and hard to return to work on the project, finished it, it "aired" twice in the PNW and that ended my work in production.

Until 2016. I got new equipment, I started writing. I came up with a viable project as a test after all these years and working with new equipment and produced "The Rapping". I have also been working with local indie horror director Kelly Hughes for a few years now.

Because I wanted to get on set and get a better understanding of what happens to my writings once it hits production. It's been fun, anxiety invoking (like when the police showed up wondering why a woman was screaming things like "Let me go!" "Why are you doing this to me!" That was actress Jennifer True. The cops couldn't have been nicer and said now that they knew we were shooting they'd be aware for the rest of the day.

art by Marvin Hayes

So, in choosing my next project I considered my original and recent reason for shooting films. To take some of my own published writings and turn them into live action. I decided the one with least special f/x could be Gumdrop City. I wrote about this before. Originally written in 1983, it was first published in an anthology in 2010. Then I put it in my own Anthology of Evil in 2012. And I wrote about this new film project in April.

But this is about the production now that it's been selected.

Preproduction.

I came up with the idea to not produce the story itself, but to do a prequel. How did this all begin? The story itself is based on a true crime story I heard about in college toward my psychology degree in a class on abnormal psychology. It affected the class so strongly I felt in walking out of that class I had to write about it. I'd never even known such things existed back then.

But to do the story itself would require some difficult scenes I didn't want to get into, I didn't even want to get into in the short story. Special effects I didn't want to do on a first full narrative film project with my limited money and resources. So I settled on a prequel. An origin story of sorts. I just let my imagination go after re-reading the original story.

And a vision emerged. I decided to go a bit more bizarre. What if this was bigger than the short story. What if this guy wasn't such a degenerate as he is in the short story? What if, he lived the prequel storyline and then severely degenerated between that and the short story? That freed me up in many ways. Creatively. Financially. Resources. And it made it more fun.

So I wrote some notes out, then wrote my first draft. Over the next couple of weeks, I worked on other things and kept going back, adding ideas, fleshing it out, honing it to imperfective perfection.

I started to think about who should act in it. I had wanted to do something with my voice actor who has read a couple of my stories as audiobooks, Tom Remick. Nicest guy ever, playing the part of a sick demented murderer. Sure, why not.

I started to consider other actors I know. Tom said his son might be interested, and his two young boys. Excellent. I needed around ten actors. Three are voiceovers and never seen. I know actors from my friend and director Kelly Hughes' stable of actors (he and I will be at Crypticon Seattle in SeaTac this weekend, by the way). I've acted with some of them, done f/x around them, pyrotechnics, etc. As it turned out I'll only need a few of them. I now have the production cast.

I continued honing the screenplay. I started picking up props. I started researching the f/x I will need and some of the food props. That all in itself was an experience and an education. Any idea how expensive a lot of gumdrops can be? Single color? Red? Maybe easier to make your own.

Marvin Hayes who did most of my ebook covers and my print book covers had some f/x suggestions. That was handy.

A production is a collaborative effort. In a low budget indie, or no budget indie, it can have much more of a family/community feel to it. People volunteer their skills or efforts out of a love, not payment, for what they want to do. Some who never dreamed of doing it find they're doing it and living a kind of dream. But they still have to be able to pull off whatever it is they are offering. They still have to show up on time and pull their schedule off or they're replaced.

Some directors can get gold out of even problematic actors. Kelly is like that. I've been told I'm quite good too at directing by actors. We'll see soon enough. I'm used to working with professionals in other careers. I'd expect no less in this one. Demand quality and it shows on screen. Let the production take over your production, or your actors or crew, and you lose the production. Set up an environment for productivity and creativity and keep things moving forward, and you'll all feel the joy of creating something special.

Rule #1 in a production... Preparation: a solid screenplay, actors, camera work, f/x, and sound makes life so much easier and sets you up for a much better end product. Especially pay attention to sound. Because it can so easily ruin a good project.

Rule #2 in a production...Finish the production. David Lynch took five years to finish Eraserhead. But he finished it.

OK. So, I hit the point where the screenplay was finished enough to send to the actors. A screenplay is finished when the film is shown. It's perpetually in a penultimate state as things change on the set when shooting.

At the same time, I was working out practicals. Number one, gumdrops. Purchasing them was too expensive and finding only red ones even more problematic. So I decided making my own was the cheapest. AND, it gave me a new scene where Sampson, the lead character, makes his own. That gave me more opportunity to add in some more creepy factor.

That meant I had to research the recipes. That led to ingredients. One was problematic and expensive. More research until I found one source that was best and purchased it online. It's here now and more than we will need.

I had an idea for an opening camera shot involving my Syrp Genie and equipment. I continued honing that complex shot in the screenplay. I finally got around to digging out the equipment.

Syrp Genie configuration for this opening/closing shot

By the way, I charge all my equipment batteries the first of every month on all my equipment, something an assistant would be assigned to do if I had a bigger crew...or a crew. I set up the configuration I would need and began to plot out the setup and execution of the shot. Which, as it turned out, wasn't practical.

So I had to work around that. Splitting up the programming (there is a cell phone app where you program the equipment) into two programmed shots. The Syrp equipment simply won't do the shot I wanted.

The plan was to start high and happy and shoot downward slightly, tracking to the right and lower to and sad, at the other end of the track. Uncovering and exposing the other side of a face. Then I could take that shot and split it up, using the first half in the opening and the second half at the end. It was a moving example of "the Comedy and Tragedy Masks" or just "the theater masks".

Preproduction is so important in so many ways. Having a good screenplay. Rehearsing at least some. You want the actors to understand what you want of them which relaxes them some. Trying out camera shots ahead of time. Testing f/x and recipes for things like blood. Lighting issues and setups. Locations and test shots. Etc.

I've learned not to send my screenplay out to too many or ask for too many comments on it (same with dailies or rushes if you have them) as a lot of times it simply muddies your thinking. If you find someone who really does understand how you think and can productively critique and add to the project, they are simply gold.

I'm deep into preproduction now.

At some point, you need to write up a list of shots, or a shooting script. Some don't do it at all, some get very technical about it. Find your bliss, what works best, what turns out the best product for you and go with it. Always considering to enhance or alter as you find what works better, or you are eventually able to evolve into. The mission, the project, the product, the film is what takes precedence, not you. Kick your ego to the curb and produce quality at all costs.

You also need a schedule for the production and consideration for what needs to be on set before anyone arrives. You can send a screenplay to a company and they will produce for you a shooting screenplay, or cost estimates or all kinds of things.

Or you can do it yourself (preferable). it can be as intricate or simple as you like. All that matters is that it is good enough to make your life easier and the project more productive and aid in enhancing the quality of the end product.

What day, what actors, when do the actors /crew need to be where. If you have any crew and I suggest you have some. I hear, certainly, on a larger crew/production, an AD is so important, an assistant director to take on your more mundane or difficult tasks freeing you up for the real directing on set issues.

What do you need for all of them? Food and drink, to be sure, always keep your actors happy and fed and happy to return. Costumes? Practicals? Props?

The list of who is shot when and in what scene. You may have an actor in scenes all through the production, but do they need to be there in chronological order or can their scenes all be shot on the same day and edited into place later?

Taking the screenplay from its format and order and timeline into when is most economical in many/all ways is imperative. Logistics are important and getting them right in preproduction is a life saver.

I have children in this project. So getting them in as early as possible, their scenes shot all in one day makes my life, and theirs, and their parents lives, easier.

Paperwork. Do you need shooting permits from the city, county, area? Or are you guerilla shooting, shot and run shots? Actor waivers/agreements. I know many don't bother with them on no budget films but it's so easy to do, I think it's worth it.

That alone makes the actors feel more respectable, more professional, more respected and sets a tone overall for the project. Not to mention it gives you and them, the reasonable protections you want later on if something unforeseen does come up.

Now with all these things under consideration, preproduction is a matter of going over them until you hit your desired level of perfection and costs. Which is where I am now.

Last Friday Tom and Amy came over and we did a run through on Amy's scene and it was so enlightening. Table reads, rehearsals, save so much time and can really add so much to tweaking the screenplay. Iron your issues out before you begin principle shooting.

Next up? Production?

Actually, just a lot more preproduction. I'll let you know how it turns out.

Cheers! Sláinte!